The New Yorker about the relationship between women and rap, “Her music was about power — sexual, financial and otherwise — that doesn’t need permission, and we’re still figuring out what that looks like even to this day.
She made it okay to be exactly who you are with no cue cards.”After “Nann” popped off, Trina was quietly mandated to push out an album right away while still trying to manage the ins and outs of touring, understanding performance cues and honing her stage presence. “I knew that was the record that broke the gate, that’s what got the deal but then I wanted something else.”She remembers being on tour and looking out into the audience to see all of the women reciting her verse word for word.
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